Open & Free: New Enterprise in the Information Age — An International Workshop

Distributed Creativity and the Logic of Control

James Boyle

How can we best organise innovative activity? Conventional property theory teaches us that strong property rights, coupled with hierarchically controlled vertically integrated firms or research organizations, provide a winning combination. Strong property rights prevent the "tragedy of the commons" — resources will not be overused, or allowed to languish because there is no incentive to invest in their improvement. The property owner can police both external threats such as theft and internal threats such as shirking by employees. Vertically integrated firms or research organizations will work out what innovation can best be pursued in-house, and which left to the external market. The "make or buy" decision marks the boundary of the firm. But the intangible public goods that are central to innovation fit poorly into the world of conventional property theory. Fields may be overgrazed, ideas cannot be. There may be benefits! to having multiple, distributed centers of innovation working on the same piece of "intellectual property." As Yochai Benkler points out, creative endeavours such as the free and open source software movement hardly fit into the model of a vertically integrated firm jealously excluding others from its property. In this talk, Professor Boyle argues that we have cognitive biases that make it systematically more likely that we will ignore some of the benefits of open, non-proprietary and distributed forms of creativity and innovation, and that we will overemphasize the benefits of control and proprietary exclusion. In response to this danger, he will propose a series of corrective policies aimed at building flourishing open networks, vibrant cultural communities, and an efficient and streamlined world of scientific inquiry.

From Legal Commons to Social Commons: Developing Countries and the Future of the Cultural Industry

Ronaldo Lemos

Developing countries are facing new challenges because of the Internet and the digital technology. In Latin America, the traditional means for access to knowledge have been changing fast, shaking established business models. Different industries are affected: the music industry, the film industry, as well as the publishing industry and the press.

The music industry and the press have seen their outreach plummeting, in face of competition with the Internet and other business models. The film industry remains controlled basically by movies produced in the US, but this business model also shows signs of exhaustion, with a decreasing number of movie theaters and box office revenues. The publishing industry faces organizational challenges, such as the very few numbers of bookstores, due to the lack of incentives to create new ones.

At the same time these challenges are taking place, new trends are emerging. The first is new media models, such as open publishing, online record labels, videologs, and the so-called citizen journalism phenomenon. Accordingly, the so-called "Web 2.0" (a buzz-word invented by Tim O'Reilly to describe collaborative tools at the Internet) can also be seen in operation in developing countries, particularly in Brazil.

Nevertheless, these tools are only in an initial stage. In spite of their promising character for the future of access to knowledge in developing countries, they are not yet ripe enough for affecting society as whole. Accordingly, other phenomena related to technology are taking place, especially at the poorest cities and neighborhoods of the country, this time significantly affecting cultural production in connection with a large number of people.

These new events consist of the appropriation of technology on the part of the so-called "peripheries", that is, the most marginalized and impoverished areas of developing countries. These peripheries are using technology in order to produce their own cultural industries. Technology is also being used to create original content, produced and distributed directly within the poor areas, skipping intermediaries and moving away from the idea of piracy. Piracy, accordingly, becomes in many instances no longer a significant activity, because content is being produced and sold deliberately and directly throughout the former "pirates". These emerging cultural industries taking place at the global peripheries might represent one of the most exciting possibilities of cultural autonomy in a global world.

Public Licensing of the Union Catalogs of the National Digital Archives Program, Taiwan (NDAP)

Ming-Chorng Hwang

Since the National Digital Archives Program, Taiwan (NDAP) has been in operation for five years, and a vast amount of archival digital resources have been collected. All this has made many precious cultural materials possible to overcome the limitations of time and space, and to make querying, data indexing, sorting, and content reviewing in a fast way. NDAP has surpassed many previous projects in terms of scope and the number of organizations involved.

NDAP has built a Union Catalogs Program (Union Catalogs of NDAP, Taiwan), to facilitate resource integration and utilization. The purpose is to establish a search mechanism across multiple archiving organizations and databases served as an integrated indexing system of national digital archives for the general public.

To provide the general public with access to the NDAP collection, all the contributing organizations of the Union Catalogs need to jointly adopt a certain kind of public license so that users can make use of the digital resources in a reasonable and legal way subjected to the copyright laws. As such, Creative Commons' licensing model is a solution worth trying. Through explanation to and coordination with participating organizations, more government agencies and individuals are able to understand the philosophy of Creative Commons — sharing with the notion of "some rights reserved".

Towards A Science Commons — Issues in Open Science

Thinh Nguyen

Scientific research is transformed by the network, just like culture. Scholarly knowledge of all forms, disciplines, and languages is becoming increasingly digitized. Open access publications are growing in influence and importance and increasing their impact on the scholarly corpus. Likewise data is undergoing a transformation from physical archives to databases and digital data repositories. This digitalization of science has paradoxical effects. While it can make vast bodies of knowledge instantly available almost anywhere, it can also be used to increase control over who has access. In recent years, journal costs have grown dramatically, far outpacing inflation. The explosion of journals and publications means that the gap between those with access and those without is widening, and access is a concern not only for "marginal" audiences, but increasingly also for researchers at well-funded institutions. The growth of open access publishing has been an important countervailing force, and the Creative Commons licenses have played a significant role in enabling and supporting these developments. However, open access publishing is only part of the picture. Science requires access to more than just text, but also to data and materials. Science Commons is working on projects in open access to publications, data, and materials, by creating prototypes of policy, technology, and legal infrastructure that touch upon all stages of the research cycle. The presentation will discuss changing trends in scientific research, the effects of changing technological and policy environments, and the efforts of Science Commons to translate the lessons of "open and free" into effective tools and policies for the global scientific community.

Progresses and Impediments to the Integration of Biodiversity Databases

Kwang-tsao Shao, Kun-chi Lai, Yung-chang Lin, Han Li

The Convention of Biodiversity stipulates that governments should endeavor to protect the sustainability of biodiversity, share the resources and its benefits in a fair and reasonable way, and enhance the knowledge and awareness of the public about the significance of preserving biodiversity through establishing clearing house mechanism and strengthening taxonomic capacity building, etc. Meanwhile, the World Conservation Union (IUCN) also promotes the concept of conservation commons. Global Biodiversity Information Facility (GBIF, http://www.gbif.org) was founded in 2001, now it has 85 countries and international organizations to be its members. It has built data exchange platforms and integrate all data provided from various nodes. Now it has successfully consolidated more than one billion bits of specimen records and their locations data, and put the information on the WWW for the public. To facilitate the sharing of data, GBIF has announced its "Recommendation On Open Access To Biodiversity Data" in January 2006 to stress on the demands for open access to data and the advantages of data integration. Taiwan as an associate member of GBIF has set up Taiwan Biodiversity National Information Network (TaiBNET, http://taibnet.sinica.edu.tw) to consolidate lists of local experts and native species under the funding of National Science Council and Council of Agriculture and has set up Taiwan Biodiversity Information Facility (TaiBIF, http://taibif.org.tw). So far TaiBIF (http://taibif.org.tw) has completed the integration of data of Taiwan's native species, including specimen, literature, basic information and distribution. Users can link to or directly access the data of a certain species stored in domestic or overseas websites or databases with a scientific name or GIS.

Through working on data integration in the past three years, we have also found out quite a few problems and challenges:

  1. Lack of in-house IT experts. Long-term steady funding can help ensure continuing efforts on database integration.
  2. An inter-agency committee on biodiversity data integration should be set up to work out a unified database format and technology to facilitate database integration in the future.
  3. The raw materials of research projects on biodiversity categorization or ecology investigation entrusted by government agencies need to be digitized, archived and submitted, which should be regulated by relevant regulations or contracts.
  4. In addition to SCI publications and indicators of their impact factor, digitized material such as number of records (of species described, specimen cataloged, ecological distribution and DNA sequence data) archived and uploaded to the Internet, i.e., "Repository Impact Factor" should also be considered in the merit system and research performance evaluation.
  5. It is necessary to discuss and decide on how to collect and open access to data under the existing IPR regulations in order to remove obstacles to data collection and to build up mutual trust. The organization in charge of data integration should have only the custody but not the ownership of the data. The database and high-resolution geographical locations must not be provided to any third party without the consent of the original owners.

The nature and content of Biodiversity Informatics is very different from that of Bioinformatics. The data of the former covers a more complicated set of disciplines, data formats, time, space, languages, and can only be acquired through taxonomists and ecologists equipped with expertise of and professional judgment on field collection and species identification. This is very different from the ordinary environmental data which can be obtained by using automatic monitoring instruments or analytic software. Therefore, it calls for more serious respect for intellectual property rights. This talk attempts to bring up the problems researchers have encountered in various domestic and international projects on information facilities, such as NDAP, TaiBIF, GBIF, CBOL, Species 2000 and ILTER etc, for discussion.

Commons: Now and The Future (Open Discussion)

Panelists: James Boyle, Ronaldo Lemos, Ming-Chorng Hwang, Thinh Nguyen, Kwang-tsao Shao. Moderator: Tyng-Ruey Chuang.

Information technologies enable people to collaborate in unprecedented capacity in creating and sharing digital resources. Technologies, however, may also make it difficult for people to participate in this new enterprise. People may lack access to the necessary technologies, for example, or the technologies may be restrictive by design (e.g., "Digital Rights Management"). Laws and policies also make many people think (more than) twice before contributing to the commons.

In this panel, the panelists and the workshop participants are invited to share their thoughts on the commons today, and to describe their visions of it in the future. In particular, we seek your views about the following:

  1. What is the landscape of digital commons today? What are the promising directions, and what are the trends that most worry you?
  2. What actions are needed now for a sustainable commons today and tomorrow?

    3. Apply Open-Content Platform to Create a Digital Archive System: The Experience of TaiwanBaseballWiki

    Sinn-Cheng Lin

    The century-long history of baseball in Taiwan is full of twists and turns, which is very much an epitome of the contemporary history of Taiwan. It not only represents the collective memory of the people of Taiwan, but is also an indispensable part of the Taiwanese culture. Such invaluable assets are absolutely worth archiving and preservation in an organized and systematic way. The aim of Taiwan Baseball of the National Digital Archives Program is to establish a digital archive or a library preserving valuable digitized historical records about baseball, so that people are able to explore the development of baseball as well as the changes of the society in Taiwan.

    This project has lasted for almost three years since 2004. In the beginning, it was very lucky to have legally authorized access to the historical records about baseball in Taiwan from udndata.com under the United Daily Group. Based on this raw material, the research team designed and set up a digital archive system named "the digital library of the valuable historical records about baseball in Taiwan", and solved the problem of data exchange and integration with the Union Catalogs of the National Digital Archives Program. Yet, there are constraints with the news records. To complement the material and to provide users with more detailed and comprehensive references about the development of baseball in Taiwan, the team developed a value-added application named "TaiwanBaseballWiki" in an experiment by using an information gathering platform on the basis of wiki collaborative system. "TaiwanBaseballWiki" was then opened to online communities to collaboratively edit the content to make it more copious and diversified under a Creative Commons license, so that the baseball archive would be more useful and valuable. Lastly the team would seek to collaborate with experts of the history of baseball, baseball columnists and baseball community to establish a "digital museum of baseball in Taiwan". The working model of the experimental application is now ready. We hope that it can develop into a digital content integration platform for preserving cultural assets of Taiwan baseball and for public use.

    The Open Content Library: Building Large Scale "Open" Communities around Multiple Media

    Jon Phillips

    The Open Content Library is understood multiple ways. It is a social and technical strategy for building large scale "Open Content" licensed communities around specific media. Secondly, it is a superset around existing projects such as the Open Clip Art Library (www.openclipart.org) for public domain 2D clip art images and the Open Font Library (www.openfontlibrary.org) for public domain fonts. The Open Content Library is now also a project, www.opencontentlibrary.org, where these specific communities are loosely collected under one umbrella, in true Wikimedia-learned-fashion.

    This presentation first looks at the current landscape of projects that exist with similar scope such as Wikipedia.org and Archive.org, and also contrasts differences with some sites such as ccMixter.org where the focus is on remix, rather than on growing the collection of content with further bite-sized samples, necessary for remix as is the case with all Open Content Library projects. This section also discusses why this type of library is necessary in the world in order to support Open Content that is either released into the Public Domain, uses a Creative Commons license, or another Open Content license.

    Secondly, this presentation discusses the aforementioned three key ways to view the Open Content Library, as a strategy, as a superset of pre-existing real projects, and as an umbrella for these specific projects.

    And finally, the presentation will hover on HOWTO develop more large scale "Open Content" communities using the learned strategy. The social and the technical approaches are intermingled in order to show how to properly channel contributor energy using a broad scope of means, from "low-tech" to "high-tech." One key point is discussing the Creative Commons project, ccHost, an Open Source web-based media sharing application, and how it enables current Open Content Library projects to thrive because of how ccHost empowers groups socially and helps to lower impediments ("barriers") to contribution.

    Creativity between Code and Word

    Jedi Lin

    The information age is full of cultural clashes. The creative works accomplished at this time is beyond the imagination of the people in the past. The methods, the content or even the forms of creative works we see today has made it difficult to give a definition by following the categorization system of the existing copyright law. For traditional publishers and those who make and implement related regulations, these cultural clashes turn into a matter of survival: a very realistic challenge about whether they are protected, or whether their works are profitable in the real life.

    Standing on the frontier of the age, we play with these new techniques, and we ensure the free flow of creative ideas among collage works. In the meantime, we also need to take heed of the various forms to which a "work" attaches to, as well as the rights and duties that may derive from it. As the Internet constructs a new society, these new forms of works will also bring forth new rights, which will become the cornerstones of the digital content industry in the future.

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    Open Content, New Enterprise

    Jyh-An Lee

    The development of free/open source software (F/OSS) has provided a grassroots approach to teach the society that individuals can develop, produce, diffuse, maintain, and update products for themselves in the context of user community. The paper will illustrate how F/OSS movement has influenced current online content production from two aspects. First, more and more content is now free of charge through public licensing arrangements. Second, peer production has gradually changed the content industry by unlocking the production process and pooling individuals' time, experience, and creativity to form new information goods. Peer production is an effective tool to produce information in the creative development, content production, content classification, and content evaluation processes. We use "New Enterprise" hereafter to denote a new landscape in the content industry, which are significantly influenced by the F/OSS movement in ways illustrated above.

    New Enterprise not only fosters a new dynamic of social relations that across distance, nationality, and other contexts, but also enables an interactive and democratic style of information creation and collection. Some commentators calls it as "wisdom of crowds," "collective intelligence," "collective knowledge," or "folksnomy" since the collective wisdom of thousands of online participants is almost always more powerful than that of one single smart person. Moreover, in the context of F/OSS and the New Enterprise, users are not consumers in the conventional sense. Users have integrated themselves into the production process intensively. Such user-production mechanism can significantly eliminate transaction costs stemming from traditional business organizations. Nonetheless, the New Enterprise has brought some difficult issues for current legal system. Intellectual property is probably not anymore the only dominant incentive for creative activities. Moral right theories may also need to be modified in the information economy.

    Commons Tales

    Shu Lea Cheang

    In 2005, <KOP> (Kingdom of Piracy, http://kop.kein.org) launches an R&D blog on commons/tales (http://kop.kein.org/commons/tales/).

    We start by collecting the 'tales of the commons'. Each tale is an example of a sustainable commons that belies the pessimism of the 'tragedy of the commons'. What are the necessary sets of conditions that allow a commons to form? Our interest lies in social forms of organization. How do communities self-organize to define the rules of usage of the commons? Are there any rules in self-organization? Or, to reverse the question, does the commons facilitate self- organization?

    These are the issues facing public commons that go beyond CC's individual licencing agreement. Open and Free, but …. we call for a review of the OPEN and FREE paradigm. We question the politics and power play masked in OPEN free trade and COMMONS cultural production. We have come a long way from the utopian dreams of the 60s; we refer to autonomy, not expecting it on a nation, state or society level, but conducting it as operational degree of freedom in self-organization. With this R&D project, we presented installation and workshop at "Open Nature" exhibition at NTT [ICC], Tokyo (http://www.ntticc.or.jp/Archive/2005/Opennature/), and conducted a RULE OUT performance at Open Congress in London and ultimately PLENUM, a 12 hour plenary session on public speech commons (http://kop.kein.org/plenum/).

    On the other front of public performance, I would also like to introduce my work with TAKE2030:

    TAKE2030 on open source and design commons:

    Here Taiwan's open source enthusiasts and fashion designers are invited to modify and expand PORTA2030's porta-pack software and design at workshops held at Taipei Fine Arts Museum through its Biennial exhibition period (Nov 2006 - Feb 2007).

    The Beauty and Sadness of the Practice of CC

    Yueh-Hsin Chu (a.k.a. Pig Head Skin)

    The following is an interview of Yueh-Hsin Chu by Creative Commons Taiwan.

    CC Taiwan: How did you hear about Creative Commons?
    Chu: You are kidding me! You people contacted me in 2004 to write a song for the launch of Creative Commons Taiwan. Of course I agreed immediately. As a result a CC-licensed album, Welcome to My Song, was produced just before the launch. (Note: The album is online at http://creativecommons.org.tw/files/cc-tw-dvd/cd.html .)
    CC Taiwan: What attracted you to the idea of Creative Commons?
    Chu: I see CC licenses as a way for one to express good wills in exchange for good wills from others. It is like: Here are my works and I am CC-licensing them so you can use them. But please return your good wills by respecting my rights. Before CC licenses, either my works are protected by record labels to the extent of ridicules, or I am on my own doing charity all the way. CC is a smart charity in interesting ways.
    Creative Commons means a lot to creators. I know of many indie film makers (some are just Mom-and-Pop). They are so glad that now they can use music from opsound.org for background music in their works. Before that, it will cost them a lot to get that kind of music usage rights. The paperwork alone will kill you. CC facilitates culture remix. CC somehow is the tender light to inspire the kindness of human beings. It is a lot of fun to live by creating works. CC-licensed works are like energy to a creative life.
    CC Taiwan: What has been your experience using the CC license to date? Are CC licenses alone sufficient to you?
    Chu: It is difficult to tell the effect of using a CC license for our album, Jesus Rocks!. I don't know whether we get more gigs just because it is CC-licensed. I don't know either whether the tracks are ripped more often just because of it. Nowadays people are ripping everything, even for "Copy Control" CD. Besides, it is really tough sale, more or less, for any album in Taiwan's music market. It may just be simpler to allow people to copy my music, as long as my good wills are respected.
    It will be worth working out more cases (of CC-licensed albums). Right now we have few cases to speak about. One thing I like to see is a case of musicians making a living by making CC-licensed music. We are nowhere near there. At sites like streetvoice.com.tw, already they are streaming CC-licensed music. Perhaps an artist-owned agent for CC-licensed music will be possible. Right now it is too early to know. I like to see CC Taiwan doing more in this aspect.

    Electronic Music and Public Licensing

    Giong Lim

    The following is an interview of Giong Lim by Creative Commons Taiwan.

    CC Taiwan: Can you talk about when and how the electronic music started to develop here in Taiwan?
    Lim: I'm not sure when the electronic music started to develop here, but I can remember to have heard of electronic music in taxis played by drivers, or in occasions of weddings or funerals where "electronic floats" were hired for entertainment. Electronic music appeared at the time when electronic organs were introduced to Taiwan. In addition to pianos, we could also see electronic organs in households here. At that time the music cassettes with electronic effects or by electronic big bands were popular. Most of them were instrumental music adapted from Taiwanese popular songs or oldies.
    In the 70s, folk songs were in vogue, and we could hear electronic elements in the music arrangement of many works. At that time it was expensive to hire a band for studio recording, so people started to use electronic organs to produce the sounds of all instruments and then link and integrate them with synthesizers and midis. For example, you don't need a drummer but a drum synthesizer to create the sounds of drums, and then you connect the sounds to you keyboard. You make or mimic the sounds of drums on the keyboard, and you can record multiple tracks at a time and then edit them. If you need the sound of violin, you buy a violin synthesizer and connect it to your keyboard with midi; all depends on the kind of sound or effect you need. If you need four violins, you can press the keys to make four sounds. At that time music was arranged and edited this way mostly. Few people would hire a band to do studio recording.
    Later came the emergence of the IT industry. Since then the very costly, and very bulky, synthesizers of drums, string instruments or electronic music have slowly been replaced by software in PCs. Now most people use PCs to produce the sounds they need. This has lowered the threshold of doing electronic music. Now there are more people playing music with their PCs. It's quite common among young people. Pioneers like Ji, Hong-Ren（紀宏仁）, Chen, Shi-Shing（陳世興）, and Wang, Ming-Huei （王明輝）& Lin Wei-Che（林偉哲）of the Blacklist Studio（黑名單工作室）were among the first in the pop music arena who used computer or electronic music to produce their albums. A more recent case would be "the Awakening"（驚蟄）, the best cross-over album of the 2006 Golden Melody Awards. There are even a lot more outside the pop music arena. For example, a group of schoolmates may get together to play at sounds with PCs or so. That's pretty much what the status of electronic music is like now.
    CC Taiwan: Are there any particular features of electronic music that you think can be associated with general public licensing or sampling?
    Lim: I think CC licensing can be applied to any kind of music, as long as an author is willing to use CC licenses. The electronic music is very suitable for utilization and transmission. Thanks to the advent of the Internet era, a lot of work can be done on computers. The completed work in compressed MP3 format can be put on the Net directly. It's nice and easy compared to the traditional way of doing music — you need to find musicians to do studio recording, to transfer the audio to a hard disk and modify it, and to convert it to MP3 format, before you can put it on the Net. The digitized format of electronic music has made distribution much easier, which is good news to those doing electronic music.
    CC Taiwan: What do you think are the effects of CC licensing on electronic music? Any advantages and disadvantages?
    Lim: Personally I think CC licensing is applicable to any kind of music, as long as the author is willing to share a part of her/his work to other people. S/he can choose to release a part of her/his rights to the public. Under the old concept of "all rights reserved", the licensing issue is in the charge of a copyright agency. If you want to distribute your work in the commercial market, you will have to join a copyright intermediary organization and let it take care of the licensing of all you works. But if an author uses CC licensing, s/he will be able to decide on her/his own how to present her/his work to the public.
    As to the disadvantages of CC licensing like impacts on music sales, I plan to employ CC licensing to a DVD album containing texts, images and music to be released next year. The DVD album will be distributed commercially in the way normally seen in the pop music market. We should be able to tell if CC licensing will have any impact on the sales volume from this trial next year.

    Ethnic musical instruments should be forced to be regulated by "Sampling Plus"

    Monbaza

    Ethnic musical instruments are an essential element of ethnic music. The vendors of electronic instruments represent the sound of an instrument through sampling and recording techniques, which can help a musician do music arrangement and compose traditional or cross-over music. Such use of electronic instruments is quite innovative. Yet in the case of sampling rare ethnic music instruments, for the purpose of protecting cultural assets that belong to mankind and of archiving and application, proper preservation and management is necessary. The purpose is to allow musicians who need to access and use these sounds to create works on the condition of non-commercial use, regulated under a Creative Commons "Noncommercial Sampling Plus" license. By doing so, these sounds of the ethnic musical instruments can continue to be appreciated by people at our time.

    Art and Law: Shaping the Conditions of Creativity

    Jennifer Jenkins

    How does copyright law shape the conditions of creativity? What kind of system is best for artists? It is often assumed that artists' interests are best served by expansive protection - more rights will yield more creativity. But unlike physical property, intellectual property is built from fragments of other intellectual property. Artists depend upon access to the texts, sounds, images, and idioms in existing works to create new works. Therefore, the copyright system needs to strike a careful balance: allowing artists to protect and benefit from their works, but also ensuring the availability of raw materials for future creation. The law itself can achieve this through exceptions and limitations - in scope (copyright law does not protect facts and ideas), in time (terms eventually expire), and on the rights themselves (in the US, the "fair use" doctrine allows for uses such as criticism, parody, and decompilation). But recent expansions in copyright law have whittled down these limitations. As the law continues to struggle with challenges posed by new technology, private solutions such as Creative Commons - which allows copyright owners to create an "open and free" environment themselves - become all the more important. In addition, efforts to better understand and appreciate the "public domain" - the realm of material that is free for all to use without permission or fee - may help bring better balance to the system.

    Creative Commons International: Jurisdiction Project and Trans-border Movement (Open Discussion)

    Panelists: Catharina Maracke, Ronaldo Lemos, Tyng-Ruey Chuang. Moderator: James Boyle.

    As of January 2007, the Creative Commons licenses have been ported to 34 jurisdictions. Each of these licensing-porting jurisdiction projects is initiated by a voluntary effort involving civil organizations, academic and educational institutions, or even law firms — depending on the specific jurisdiction — and is guided by the Creative Commons' international office in Berlin. After the porting, the Creative Commons Licenses become valuable local legal instruments available to anyone who wishes to declare his/her creative works free for others to use. On the other hand, the Creative Commons Licenses also come to symbolize a broader free culture movement in which there are multiple voices and of which the actions transcend borders.

    In this panel, Catharina Maracke, the international coordinator of Creative Commons, will talk about Creative Commons' international effort. Ronaldo Lemos and Tyng-Ruey Chuang, the public leads of Creative Commons Brazil and Creative Commons Taiwan, respectively, will talk about their jurisdiction projects. The panelists and the workshop participants are invited to share their views about the following:

    1. Of the jurisdictions to which the Creative Commons Licenses are ported, how do people evaluate their impacts? Are public licenses alone sufficient in a free culture movement?
    2. After the Creative Commons Licenses are ported to a jurisdiction, what additional roles shall the jurisdiction project play, and how shall the project better organize itself for further work?
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